In the Dior cruise collection, however, and traditionally, Maria Grazia Chiuri refers to the strong and independent women who changed the world and left their mark on history in the broadest sense of the word.
This time, the creative director focused on Mexico and the surrealist artists: the English Leonora Carrington and the Spanish Remedios Varo, the Italian-American-Mexican photographer (also an actress and revolutionary) Tina Modotti and, of course, Frida Kahlo. The latter’s personal life and work are most clearly visible on the cruise. There are outfits reminiscent of those Frida loved (she chose the men’s three-piece suits to confirm her independence); a pink dress inspired by Kahlo’s image of one of her self-portraits, and even the utterly Diorian Toile de Jouy, featuring parrots, monkeys, and strelitzia, can also be found on the artist’s canvases.
For Chiuri, Kahlo is a true icon. “I always felt close to what she did. She was an artist who was the first to use her work to express thoughts about her body and clothing; her clothes were part of her project. But she too ”, the designer continued,“ she was intimately connected with the natural world, with mother earth, with the idea of metamorphosis ”. The butterflies speak of metamorphosis in the collection, one of the motifs in Kahlo’s work, also found by Chiuri in the Dior archives from the time of Marc Bohan. It all rhymed perfectly with billowy shirts tucked casually into long pleated or tiered skirts, the traditional huipil tunic inspired by Tijuana folk clothing, and the classic bar jacket, this time with a generous dose of Mexican embroidery. The main masters of the local workshops were responsible for them.
Frida was also referred to by the place of the exhibition, the Colegio de San Ildefonso, where the artist studied and where her key relationship with Diego Rivera took place. By the way, a friend of Modotti himself.